The Tyger for concert band by Frank Ticheli, conductor score

The Tyger c o n c

e

r t

b a

n d

Frank Ticheli

M a n h at ta n B e a c h M u s i c

Recording Credits for The Tyger: Performance by University of Michigan Wind Ensemble, H. Robert Reynolds, conductor

T H E T YG E R F O R

C O N C E R T

B A N D

FRANK TICHELI I N S T R U M E N T A T I O N 1 Full Score

1 Bassoon 2

1 Bass Trombone

2 Flute 1

1 Contrabassoon

3 Euphonium (Bass Clef)

2 Flute 2

3 Eb Alto Saxophone

1 Euphonium (Treble Clef)

2 Flute 3 (doubles on Piccolo)

2 Bb Tenor Saxophone

4 Tuba

2 Flute 4 (doubles on Piccolo)

2 Bb Trumpet 1

1 Piano

1 Oboe 1

2 Bb Trumpet 2

1 Timpani

1 Oboe 2

2 Bb Trumpet 3

1 Percussion 1

1 English Horn

2 Bb Trumpet 4

1 Eb Clarinet

1 F Horn 1

3 Bb Clarinet 1

1 F Horn 2

3 Bb Clarinet 2

1 F Horn 3

3 Bb Clarinet 3

1 F Horn 4

3 Bb Clarinet 4

1 Trombone 1

3 Bb Bass Clarinet

1 Trombone 2

1 Bassoon 1

1 Trombone 3

Xylophone, Claves, Castanets, Triangle, Vibraslap, Maracas, Suspended Cymbal (med. lg.), Woodblocks

1 Percussion 2 Tambourine, Snare Drum, Vibraphone, Suspended Cymbals (sm. and med.), Timbale

1 Percussion 3 Bass Drum, Glockenspiel, Temple Blocks, 4 Tom-toms, 2 Suspended Cymbals

P R I N T E D O N A RC H I VA L PA P E R

 M A N H AT TA N B E AC H M U S I C 1595 East 46th Street Brooklyn, New York 11234 Fax: 718/338-1151 World Wide Web: http://www.ManhattanBeachMusic.com E-mail: mbmband@aol.com Voicemail: 718/338-4137

.

Program Notes The Tyger takes its title from William Blake’s well known poem of the same name, published in 1794 as one of the Songs of Experience. The connection of my piece to Blake’s poem stems from my life-long love of Blake and his poetry. I was particularly drawn to “Tyger” for its dark energy.

Power, terror, and awe are all symbolized by the tiger in the poem’s opening stanza: Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?

Like the poem, my piece possesses an unsettling, at times terrifying quality, exploring the darker side of existence. There is also a striking similarity between a tiger’s hunting and survival habits and my own work’s dramatic structure: long periods of quiet suspense are overcome by sudden explosions of violent energy.

The Tyger begins in the lowest register and gradually reveals a dark, driving ostinato. First appearing in the piano, the ostinato is varied and passed around the ensemble and contributes mightily to the work’s incessant, predatory quality. The energy never ceases, even during quiet periods. The tension mounts to reach its apex at the end — a violent twelve-tone chord pounding furiously in repeated-sixteenth notes, the haunting ostinato still sounding below.

For m 1–39 40–67 68–73 74–94 95–102 103–112 113–136 137–146 147–155 156–199 200-210 211-end

Introduction Piano ostinato Transition, modulation: moving 8th-note line Ostinato a perfect 5th higher Piano pedal effect in high register Transition back to original key; moving 8th-note line Ostinato returns, but with new contour due to octave displacements Episode; ostinato shortened to five notes First climax, ostinato derived.

Quiet section; ostinato removed, but constant 8th-note pulse still present in B.D. Second climax: four groups set in conflict Coda; 16th-notes take over, building to final shout of 12-tone chord

Rehearsal Notes Introduction (mm. 1–39) The bass drum and timpani should sound distinct and dry. If necessary, muffle the bass drum with a cloth. Likewise, the muted trombone triplets should be sound as clear and distinct as possible, and, to this end, it may be necessary to increase their dynamic to mf.

Piano ostinato (mm. 40–67) The pianist should play the ostinato as cleanly as is possible in this extreme low register.

Over this, short, fleeting gestures pass through the ensemble quickly. These gestures should be played aggressively and with almost machine-like rhythmic accuracy. For example, from measure 47 to 51, short rhythmic gestures sound in several instruments in rapid succession— glockenspiel, snare drum, xylophone, trumpets, trombone, temple blocks—and should be played with a rhythmic precision that suggests a single person is playing the entire series. In other words, strive to connect these many short fragments into a longer, more continuous line of thought.

Transition (mm. 68–73) The ostinato gives way to a free 8th-note line which winds its way upward towards a new harmonic plain. Above this line, short bursts of 16th-notes are exchanged between the trumpets and trombones.

Ostinato, perfect 5th higher (mm. 74–94) The ostinato returns, now up a perfect 5th and divided among the bassoons, bass trombone and tuba. As before, brief gestures are passed around the ensemble in rapid-fire succession, and once again, rhythmic accuracy is crucial as a means of connecting these many parts into a cohesive whole.

Piano pedal effect in high register (mm. 95–102) The ostinato is absent, but a constant 8th-note pulse remains. A single line is shared by high bell-tone woodwinds, piano, and mallets. In order to enhance this monophonic effect, the woodwind attacks should be louder than the sustained portions of notes. Castanets, maracas and harmon-muted trumpets add another layer in what is otherwise a monophonic episode.

Transition (mm. 103–112) Corresponding directly to the earlier transition, this one modulates back to the original tonal area of the ostinato.

Ostinato returns (mm. 113–136) The ostinato returns in its original key, but given a new contour due to octave displacements. It is broken up among the brasses followed by the woodwinds, but the piano, playing the entire ostinato, provides a kind of structural glue. At measure 125 a new game emerges.

Short, marcato chords are exchanged rapidly among three groups (trumpets; horns and trombones; flutes and xylophone). The conductor should encourage very aggressive playing here while striving to achieve equal balance among these three groups.

Episode (mm. 137–146) This brief passage bridges the previous ostinato section to the first climax.

First climax (mm. 147–155) The ostinato is now shouted by the entire ensemble and a battle ensues between frenzied woodwind 16th-note passages and hammering brass chords.

Quiet section (mm. 156–199) Suddenly, all sound disappears, save a single bass drummer who reminds the listener of the incessant 8th-note pulse. As before, fleeting gestures come and go in rapid succession. This game is taken to an extreme level in measures 188 and 189, as hyperactive two-note gestures are passed pointillistically among the woodwinds. Passages such as this one are not easy to pull off, and will require careful attention in rehearsals.

Second climax (mm. 200–210) The ensemble members now divide into four opposing groups (woodwinds, high brass, low brass, timpani) and engage in a heated if short-lived battle. The conductor should encourage fiercely aggressive playing here, while striving to maintain fairly equal balance within and among the opposing groups. No single force should win!

Coda (m. 211–end) A sustained pedal tone underlies machine-gun like 16th-note passages which grow in intensity. The energy and tension mount until measure 230, at which point the entire ensemble plunges downward (pouncing on its prey?), ushering in a violently pounding twelve-tone chord, the ostinato sounding below. This is a violent ending, and it should be played with great power; however, save something for the accented notes of the final bar—one last tightening of the screw!

Frank Tic h e l i

.

Learn about Frank Ticheli’s newest works, events, CDs, DVDs, books, and hear complete recordings at

www.FrankTicheli.com “The Official Source for the Music of Frank Ticheli”

Gg

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THE TYGER FOR CONCERT BAND

= 160 throughout

2

3

4

FRANK TICHELI 5

6

1 2 Flutes

(doubling on Piccolo) 3 4

Oboes

1 2

English Horn

E Clarinet

1 2 B Clarinets 3 4

B Bass Clarinet

Bassoons

1 2

Contrabassoon

E Alto Saxophone

B Tenor Saxophone

= 160 throughout 1 2 B Trumpets 3 4 1 2 F Horns 3 4

1 Trombones 2 3

Bass Trombone

Euphonium

Tuba

Piano

(distinct) Timpani

1

Percussion

2

B.D. (horiz.)

3

3

3

3

3

(distinct) Copyright © 2008 by Manhattan Beach Music/All Rights Reserved. — Printed and engraved in the United States of America.

ISBN 1-59913-096-3 (complete set) ISBN 1-59913-097-1 (conductor score)

Go to www.FrankTicheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3s, view scores and more at www.ManhattanBeachMusic.com

7

8

9

10

11

12

13

14

B Bass Cl.

Bsn.

1

Cbsn.

straight mute 3

3

3

3

3

3

3

1

crisp straight mute

Tbns.

3

3

3

2

crisp Tuba

Timp.

Perc.

3

15

16

17

18

19

20

B Bass Cl.

1 Bsns.

2

Cbsn.

3

3

3

3

3

3

3

3

3

3

1 Tbns.

2

Tuba

Piano

8ba Timp.

Perc.

3

2

21

22

23

24

25

26

27

28

B Bass Cl.

1 Bsns.

2

Cbsn.

1 3

3

3

3

Tbns.

3

3

2 3

3

Tuba

22 8

Piano 8

Timp.

Perc.

3

30

29

31

32

33

34

B Bass Cl.

1 Bsns.

2

Cbsn.

cresc. poco a poco

sub.

1 3

3

3

3

3

3

Tbns.

2 3

3

Euph.

Tuba

30

cresc. poco a poco

8

cresc. poco a poco

Piano 8

Note: The

clef remains in effect through m.74 8

Timp.

non cresc.

Perc.

3

non cresc.

sub.

3

35

36

37

38

39

1 2 B Cls. 3 4

B Bass Cl.

Bsns.

1 2

Cbsn.

(cresc.)

poco

1 3

3

Tbns.

3

3

3

3

3

3

3

2 3

3

3

Bass Tbn.

Euph.

Tuba

(cresc.)

poco

(cresc.)

poco

8

Piano 8

Timp.

Perc.

3

40

41

42

43

44

45

1 2 B Cls. 3 4 Cbsn.

harmon mutes (stem in) 1 2 B Tpts.

harmon mutes (stem in) a2 3 4

1 2 F Hns.

a2

mute

3 4

40

legato, but without pedal

8

Piano 8

Xylo.

1

Tamb.

Perc.

2

B.D. 3

4

(shake)

46

47

48

49

50

Cbsn.

to straight mutes 1 2

keep harmon mutes

B Tpts.

3 4

solo straight mute Tbn.

1

8

Piano 8

Xylo.

1

Snare Drum (brushes) Perc.

2

Glock. plastic mallet (soft) 3

cresc.

52

51

54

53

55

1

2 Fls. 3

4

1 Obs. 2

E.H.

Bsn.

1

Cbsn.

52 Tbn.

1

8

Piano 8

Claves 1

Temple blocks (medium rubber mallets)

Perc.

Tom-toms (near rim)

3

5

56 Obs.

57

58

59

60

1 2 1 2

B Cls.

3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

Tuba

8

Piano 8

Castanets 1

Tambourine Perc.

2

Tom-tom (on rim) 3

61

62

63

64

1 2 Fls. 3 4

Obs.

1 2

B Cls.

1 2 3 1

Bsns.

2

Cbsn.

61

straight mute

1 2 B Tpts.

harmon mute 3 4

1 F Hns. 2

8

Piano

8

Vibraslap Perc.

1

6

67 65

68

66

69

1

Fls.

2

to Picc. 1&2 3 4

Obs.

1 2

1

2 B Cls. 3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

68 1 2 B Tpts.

to straight mute 3 4

mute

mute out

1 2 F Hns.

mute

mute out

3 4

straight mute 1 Tbns.

straight mute 2

Euph.

Tuba

8

Piano

cresc.

8

Timp.

Xylo.

1 Perc.

Tamb.

2

7

cresc.

70

71

72

1

B Cls.

2

3

B Bass Cl.

1 Bsns.

2

Cbsn.

1

2 B Tpts.

straight mute 3

straight mute 4

1

Tbns.

2

straight mute 3

8

Piano

8

8

73

78

74

75

76

77

1

2 Fls.

(Picc.)

3

(Picc.)

4

Obs.

1 2

E.H.

E Cl.

1

2 B Cls. 3

4

1 Bsns.

2

Cbsn.

74 1 2 B Tpts.

3 4 1 2 F Hns. 3 4

mute out 1 2 Tbns.

mute out 3

straight mute Bass Tbn.

solo Euph.

8

Piano 8

Xylo.

1

Cymbal (sticks, on dome) l.v.

Perc.

3

(distinct) 9

79

80

81

82

83

1 2 Fls.

(Picc.)

3

1 Obs. 2

E.H.

1 2 B Cls. 3 4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

83 B Tpt.

1

solo 1 Tbns.

2

Bass Tbn.

solo Euph.

Tuba

8 8

5

Piano

snare (brushes) 2 Perc.

Temple Blks. (hard rubber mallets) 3

10

l.v.

84

85

86

1

2

(Picc.)

Fls. 3

(Picc.)

4

1 Obs. 2

E.H.

1 2

B Cls.

3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

Tbns.

1 2

Tuba

8

Piano

2 Perc.

Tom-tom (on rim) 3

11

87

88

89

90

91

1

Fls.

2

3 4

1 Obs. 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

poco 1

poco

Bsns.

2

poco Cbsn.

poco E Alto Sax.

B Ten Sax.

88

(straight mute)

to harmon mute

1 B Tpts.

(straight mute)

to harmon mute

3 4 1 2 F Hns. 3 4 1 2 Tbns.

3

(straight mute) Bass Tbn.

Euph.

Tuba

Timp.

Xylo.

1

Tamb.

Perc.

2

Temple Blocks 3

12

93 92

94

95

1

2 Fls.

(Picc.)

3

(Picc.)

4

1 Obs. 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

95 1 3 F Hns. 2 4

Tbns.

1 2

mute out Bass Tbn.

Euph.

Tuba

Piano

Vibraslap 1

Vibes medium rubber mallet Perc.

2

Glock. soft plastic mallet 3

13

96

97

98

99

1

2

(Picc.)

Fls. 3

(Picc.)

4

Ob.

1

1 B Cls. 2

harmon mute

open

1 2 B Tpts.

harmon mute

open

3 4

Piano

Castanets

Maracas

1

Perc.

2

3

14

100

102

101

103

104

105

1

2

(Picc.)

Fls. 3

(Picc.)

4

1 Obs. 2

E.H.

1

B Cls.

2

3 4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

103

open

1 2 B Tpts.

open 3 4 1 2

F Hns. 3 4

1

Tbns.

2

3

open Bass Tbn.

Euph.

Tuba

Piano

2 Perc.

3

15

(Picc.)

106

(To Fl.) 107

108

3 4

Fls.

1 Obs. 2

E.H.

E Cl.

1 2 B Cls. 3 4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

1

2 B Tpts.

3

4

1 2 F Hns. 3 4

1 Tbns.

2

Euph.

Tuba

Xylo.

Perc.

1

16

109

110

111

113

112

114

1

2 B Tpts.

3

4

1

2 F Hns. 3

4

1

Tbns.

2

3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

Small Cymbal (yarn mallet)

l.v.

2 Perc.

B.D. 3

17

115

116

117

118

119

120

1 Obs. 2

E.H.

B Bass Cl.

1 Bsns.

2

Cbsn.

117 1

B Tpts.

2

3 4

1

2

poco

F Hns. 3

4

poco

1

Tbns.

2

3

Bass Tbn.

Euph.

Tuba

Piano

sub.

Timp.

18

121

122

123

124

125

126

1

Fls.

2

(Flutes) a 2 3 4

1 Obs. 2

E.H.

B Bass Cl.

1 Bsns.

2

Cbsn.

125 1 2

poco B Tpts.

3 4

poco 1 3

poco F Hns. 2 4

1 Tbns.

2

Piano

Timp.

Xylo.

Perc.

1

19

127

128

129

130

1

Fls.

2

3 4

1 Obs. 2

E.H.

B Bass Cl.

1 Bsns.

2

Cbsn.

129 1 2 B Tpts.

3 4

1 3 F Hns.

a2 2 4

1

Tbns.

2

3

Piano

Timp.

Perc.

1

20

131

132

137 133

134

135

136

138

1

Fls.

2

to Piccs.

3 4

1 Obs. 2

E.H.

E Cl.

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

137 1 2 B Tpts.

3 4

1 3 F Hns. 2 4

1 Tbns.

2 3

Tuba

Piano

1

Vibes hard rubber mallets

Perc.

2

21

143 139

140

141

144

142

1

Fls.

2

a2 (Picc.)

3 4

1 Obs. 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

cresc.

1

cresc.

Bsns.

2

cresc.

Cbsn.

cresc.

E Alto Sax.

cresc.

B Ten Sax.

cresc.

143 1

2 B Tpts.

3

4

1 3 F Hns. 2 4

1

poco

Tbns.

2

cresc.

Bass Tbn.

cresc.

Euph.

cresc.

Tuba

cresc.

Piano

cresc.

Timp.

cresc.

22

cresc.

145

146

147

148

1

Fls.

2

(Picc.)

3 4

1 Obs. 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

147 1 2 B Tpts.

3 4

1 3 F Hns. 2 4

1

Tbns.

2

3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

very hard rubber mallets

Woodblocks

very hard rubber mallets

Temple Blocks

1 Perc.

3

23

149

150

152

151

153

1 2 Fls.

Obs.

5

(Picc.)

3 4

5

1 2

5

E.H.

E Cl.

1

2 B Cls. 3

4

8 E Alto Sax.

1

sempre 2

sempre

B Tpts.

3

sempre 4

sempre 1 3

sempre

F Hns. 2 4

sempre 1

sempre

Tbns.

2 3

sempre Bass Tbn.

sempre Euph.

sempre Tuba

sempre

Piano

154

sempre

Timp.

24

156 155

157

158

159

1 2

(Picc.)

Fls. 3 4

Obs.

1 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

a2 Bsns.

1 2

Cbsn.

E Alto Sax.

B Ten Sax.

156

159

1

2 B Tpts.

3

4

1 3 F Hns. 2 4

1 Tbns.

2 3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

Susp. Cym. 1 Snare Drum Perc.

rim shot

2 Bass Drum (muffled with cloth) 3

(very distinct) 25

161

harmon mute

160

to straight mute

162

163

164

1

harmon mute to straight mute 2

harmon mute

B Tpts.

to straight mute

3

harmon mute

to straight mute

4

harmon mute to straight mute 1

harmon mute to straight mute Tbns.

2

mute out to straight mute

harmon mute 3

Susp. Cym. sticks

(on dome)

1

Susp. Cym. yarn Perc.

crisp

(on dome)

2

crisp 3

165

166

167

168

1

Fls.

2

(Picc.)

3

1 Obs. 2

E.H.

E Cl.

1

2 B Cls. 3

4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

Claves 1 Perc.

3

26

169

170

171

172

1 Fls.

2

Ob.

1

B Cl.

1

solo straight mute

169 B Tpt.

1

mute 1 F Hns.

2

straight mute Tbn.

1

distinct Timp.

Triangle 1 Perc.

B.D. 3

173

174

175

176

177

178

1 Fls.

2

1

B Cls.

2

3 4

B Bass Cl.

Bsn.

1

Castanets 1

Susp. Cym. triangle beaters on dome Perc.

Susp. Cym. yarn beater

2

3

27

181

179

182

straight mute

180

183

1

straight mute 2 B Tpts.

straight mute 3

straight mute 4

mute 1 F Hns.

mute 2

straight mute

mute out

straight mute

mute out

1 Tbns.

2

mute

mute out

Euph.

mute Tuba

Timp.

1

Perc.

2

3

188

184 Fl.

Ob.

185

186

187

1

1

E.H.

B Cl.

1

B Bass Cl.

Bsn.

1

E Alto Sax.

straight mute

mute out

Bass Tbn.

mute out Tuba Susp. Cym. sticks edge

Susp. Cym. triangle beater

dome

1 Snare Drum on rim Perc.

2

3

28

Triangle

189

190

191

192

193

194

1 Fls.

(Picc.)

3

Ob.

1

E.H.

flutter

3

1

flutter

3

2 B Cls.

flutter 3

3

flutter 3

4

flutter

3

B Bass Cl.

Bsn.

1

E Alto Sax.

straight mute

open

straight mute

open

mute

open

mute

open

mute

open

straight mute

open

1

B Tpts.

2

3

1 F Hns. 2

Tuba

8 l.v.

Piano

Small Woodblock hard rubber mallet 1 Susp. Cym. yarn mallet Perc.

2

3

29

199

195

196

197

198

1

2

Fls.

(Picc.)

3

(Picc.)

4

Obs.

1 2

E.H.

E Cl.

1 2 B Cls. 3 4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

195 1

2 B Tpts.

3

4

1 2 F Hns. 3 4

open 1 Tbns.

open 2 3

open Bass Tbn.

Euph.

Tuba

solo Timp.

both Woodblocks 1

Perc.

2

non cresc.

3

non cresc.

30

200

201

202

1 2 Fls.

(Piccs.)

3 4

1 Obs. 2

E.H.

1 2 B Cls. 3 4

B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

200 1

2 B Tpts.

3

4

1

2 F Hns. 3

4

Timp.

31

203

204

206

205

207

1

Fls.

2

(Picc.)

3 4

Obs.

1 2

E.H.

E Cl.

1 2 B Cls. 3 4 B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

206 1

2 B Tpts.

3

4

1

2 F Hns. 3

4

a2 1 2 Tbns.

3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

32

210 208

211

3

209

1 2 3

Fls.

3

(Picc.)

3 4

3

Obs.

1 2

E.H.

3

E Cl. 3

1 2 3

B Cls. 3 4 3

B Bass Cl.

Bsns.

3

3

3

3

1 2

Cbsn.

E Alto Sax.

B Ten Sax.

fluttertongue

211

1

fluttertongue 2 B Tpts.

fluttertongue 3

fluttertongue 4

fluttertongue 1 2 F Hns.

fluttertongue 3 4

1

Tbns.

2

3

Bass Tbn.

Euph.

Tuba

8

Piano

3

3

Timp.

(distinct)

B.D. Perc.

3

33

212

216 213

214

215

1 2 Fls.

(Picc.)

3

Obs.

1 2

B Bass Cl.

cresc.

poco

a

poco

cresc.

poco

a

poco

cresc.

poco

a

poco

cresc.

poco

a

poco

1 Bsns.

2

Cbsn.

216 1

B Tpts.

2

4

1

Tbns.

2

3

Bass Tbn.

cresc.

poco

a

poco

cresc.

poco

a

poco

cresc.

poco

a

poco

Euph.

Tuba

Piano

Timp.

34

219

217

218

220

1 2 Fls.

(Picc.)

3 4

Obs.

1 2

E Cl.

B Cls.

1 2

B Bass Cl.

1 Bsns.

2

Cbsn.

1

poco 2

poco

B Tpts.

3

poco 4

poco 1 2 F Hns. 3 4

1

poco Tbns.

2

3

poco Bass Tbn.

Euph.

poco Tuba

poco

cresc. poco a poco Timp.

Perc.

1

35

221

222

a2

223

224

1 2 Fls.

a2

(Picc.)

3 4

Obs.

1 2

E Cl.

B Cls.

1 2

B Bass Cl.

1 Bsns.

2

Cbsn.

222 1

2 B Tpts.

3

4

1

2 F Hns. 3

4

1

Tbns.

2

3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

1

Timb.

Perc.

2

Susp. Cym. 3

36

225

226

227

228

229

1

Fls.

2

(Piccs.)

3 4

Obs.

1 2

E.H.

E Cl.

1 2 B Cls. 3 4 B Bass Cl.

1 Bsns.

2

Cbsn.

E Alto Sax.

B Ten Sax.

1

2 B Tpts.

3

4

1 F Hns. 2

1 Tbns.

2

Bass Tbn.

Euph.

Tuba

Piano

Timp.

Susp. Cym. (yarn) Perc.

2

37

230 Marcato 233 231

232

1 3

Fls.

2

(Picc.)

3

3 4 3

Obs.

1 2 3 3

3

E.H. 3 3

E Cl. 3

3 3

1 2 3

3 3

B Cls.

3

3 4 3 3

B Bass Cl. 3

1 3

Bsns.

3

2 3

3

Cbsn.

E Alto Sax. 3

B Ten Sax. 3

230 Marcato 1 3

2 B Tpts.

3 3

3

3

3

3

4 3

3

3

3

3

3 3

1 2 3

F Hns. 3 4

3

1 2 Tbns.

3 3

Bass Tbn.

Euph.

3

3

Tuba

Piano

8ba Timp.

Xylo.

1

l.v.

Perc.

Snare. Dr.

2

Tom-tom 3

38

234

F R A N K W O R K S

T I C H E L I

F O R

C O N C E R T

B A N D

Frank Ticheli’s works for concert band are published exclusively by Manhattan Beach Music

Abracadabra (5 minutes, grade 3)

Amazing Grace (5 minutes, grade 3) An American Elegy (11 minutes, grade 4) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5)

Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) Fortress (5 ½ minutes, grade 3)

Gaian Visions (9 ½ minutes, grade 6) Joy (2 ½ minutes, grade 2)

Joy Revisited (3 ½ minutes, grade 3) Loch Lomond (6 ½ minutes, grade 3) Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5)

Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) Sanctuary (12 minutes, grade 5) A Shaker Gift Song (2 minutes, grade 2)

This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs

Shenandoah (6 ½ minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3)

Symphony No. 2 (21 minutes; mvts. 1 & 2 are grade 6, mvt. 3 is grade 5)

Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,”and Movement 3, “Apollo Unleashed” may be separately performed

The Tyger (5 ½ minutes, grade 6) Vesuvius (9 minutes, grade 4)

Wild Nights! (6 ½ minutes, grade 4)

learn more at

www.FrankTicheli.com

The official source for the Music of Frank Ticheli

PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S

Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future.

It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984).

The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.

Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO, 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)

BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS P R I N T I N G : C H E R N AY P R I N T I N G , I N C .

.

The T yger

w w w. F r a n k T i c h e l i . c o m

w w w. M a n h a t t a n B e a c h M u s i c . c o m